Secrets of hiring celebrity entertainment for your event

CK Entertainment - South Florida Wedding Bands

2012-01-23T14:26:00.000-08:00

CK Entertainment - South Florida Wedding Bands

2011-12-22T12:18:00.001-08:00

BOOK THE CK BAND ON GIGMASTERS

2011-07-10T14:57:00.001-07:00

Gigmasters - Booking Dance Bands Online Since 1997

2011-07-07T07:37:00.001-07:00

2011-07-07T07:37:00.000-07:00

2011-07-05T18:05:00.000-07:00


	Event Venues & Spaces, Audio / Visual (AV), Tech, Lighting, Event Bands and DJs, Birthday Cakes, Bakeries, Catering, Party & Event Planning, Event Production, Party Favors, Decorations, Party Rentals, Event Photographers.

2011-07-05T13:42:00.000-07:00

CK Band is now Wedding Wire Certified!
CK Bands are in High Demand for your wedding, social and Corporate Events

FOR IMMEDIATE RELEASE

PRLog (Press Release) – Jul 05, 2011 – CK Band CK Entertainment Inc.,} is now WeddingWire Rated for 2011

FT.Lauderdale,FL. – July 5 2011 - WeddingWire, the nation's leading wedding technology company, is pleased to announce that {Enter Your Business Name} is WeddingWire Rated 2011 for BANDS}. WeddingWire Rated is an annual award program that distinguishes wedding vendors across the country for their excellence. Based on hundreds of thousands of recent wedding reviews, WeddingWire Rated is the most recognized and trusted brand among engaged couples looking to find the best local businesses for their wedding.
CK BAND} has } reviews on WeddingWire. Reviews by our newlywed clients include detailed ratings and insightful descriptions about their experiences working with our business and staff. Our reviews provide transparency for potential clients, assisting them in making the most informed decisions for their big day.

"We are delighted to unveil the 5th annual WeddingWire Rated program," said Timothy Chi, CEO, WeddingWire, Inc. "CK BAND, CK ENTERTAINMENT INC. has made a commitment to capturing their clients experiences on the nation's leading wedding review site."

As the largest site for wedding reviews, WeddingWire empowers engaged couples with the most comprehensive and trusted review system available. The WeddingWire Rated program provides CK BAND with a simple platform to capture customer feedback from their wedding planning experience. Newly engaged couples can easily access all of the reviews for CK Band} on WeddingWire.com. We would like to thank our newlyweds for our WeddingWire Rated 2011 recognition.

For more information, please visit CK BANDS} on WeddingWire at
http://www.weddingwire.com/biz/ck-entertainment-fort-lau ...

For more information on WeddingWire Rated 2011, please visit www.WeddingWire.com.

About WeddingWire, Inc.
WeddingWire, the nation's leading technology company serving the $70 billion wedding industry, is the only online wedding planning resource designed to empower both engaged couples and wedding professionals. For engaged couples, WeddingWire offers the ability to search, compare and book over 200,000 local wedding vendors, from wedding venues to wedding photographers to wedding cakes. WeddingWire also offers an online community and a suite of cutting-edge planning tools for weddings, including wedding websites and wedding checklists, all at no charge. For wedding professionals, WeddingWire provides free online management tools creating the only market opportunity that gives local businesses control over their clients, reviews, leads and performance. Businesses that join the WeddingWire Network appear on WeddingWire.com and other leading sites, including ProjectWedding.com, MarthaStewartWeddings.com (NYSE: MSO), Weddingbee.com, and Celebrations.com (part of the 1-800-Flowers family of brands, NASDAQ: FLWS).

--

CK Bands on Thumbtack.com

2011-07-04T22:38:00.000-07:00

Sax Profiles - Carey Kleiman's Audio Gallery

2010-06-04T22:07:00.000-07:00

Sax Profiles - Carey Kleiman's Audio Gallery

DEVELOPING MUSIC CAREERS IN UNCERTAIN TIMES BY PTER SPELLMAN

2010-04-30T22:19:00.000-07:00

|N|Faculty|431|431
Skip to Main Content Skip to Sub Navigation

* Home
* Courses
* Communities
* Mailbox
* Grades
* Repository
* Contacts
* Blog
* Calendar
* Logout
* Help

Blog
Blog

Carey Kleiman 04/29/10 6:13pm
DEVELOPING MUSIC CAREERS IN UNCERTAIN TIMES BY PTER SPELLMAN

MUSICIAN 2.0, 3.0, 4.0…

Developing Music

Careers in Uncertain Times

A Psycho-Spiritual-Musical Manifesto

By Peter Spellman

Images: iStockphoto

MUSICIAN 2.0, 3.0, 4.0…

Developing Music

Careers in Uncertain Times

A Psycho-Spiritual-Musical Manifesto

By Peter Spellman

If you were to judge the health of the recording industry by the

mainstream press you’d have to conclude things do look pretty bleak.

Industry trade groups like the RIAA and the IFPI continue parading

their woeful data on global CD sales and there are no signs of

improvement. In real dollars the industry has been flat-lining for nine

straight years.

And it’s not just the recording industry that’s ailing. Other sectors of

the biz – music publishing, music products and the concert industries –

are also registering declines.

The key word here is “industry”. It’s important for those in the biz to

make the distinction between the music “industry” and the music

“trade.” The former is primarily the domain of transnational

corporations and organizations like the RIAA and the major music

companies; the latter the domain of most musicians and a

tremendous diversity of small music enterprises, most “under the

radar” and perceived by the former as basically insignificant in the

larger picture.

It’s anybody’s guess if the “industry” will re-emerge to its former

financial glory (I doubt it), but if anything is clear to me as a student

of history it’s that “the next big thing” is, well, small. There are forces

at work taking the rug of necessity out from under large sectors of the

corporate side of the biz, and not just the music industry either. The

MUSICIAN 2.0, 3.0, 4.0… by Peter Spellman 2

same is happening in film, design, hedge funds, travel, insurance,

publishing, real estate and almost every other industry sector you can

name.

Interestingly, the very same forces undoing long-standing industries

are encouraging small-scale players. There is power in the corner of

individuals today that there has never been before. In music, it’s

particularly acute.

To flip Paul Simon’s lyrics from the song “Can’t Run”, “the music

business suffers while the music thrives.” It’s nothing new that the

coolest stuff has always come from outside the industry. But now the

music trade has a chance to control its own processes too, apart from

the pressures of corporate imperatives.

And that’s exactly what it’s doing.

What are these powers music workers now have? How about:

• the means to both produce and distribute music on a global

scale,

• new business models to partner with in the world of music and

beyond,

• the Internet pipeline that has clearly become an Open Mic to

the world,

• lightweight plug-and-play software infrastructures providing

musicians with ways to have the look, reach and efficiencies of

larger companies.

We have the power to

galvanize global audiences and

build a network of support for

the rest of our careers. Sounds

pretty good, huh?

It should.

But remember the timeless

words of Uncle Ben to Peter

Parker: “With great power

comes great responsibility”.

And that’s the rub…

MUSICIAN 2.0, 3.0, 4.0… by Peter Spellman 3

WHY AM I NOT FAMOUS YET?

Fame is a bee. / It has a song / It has a sting / Ah, too, it has a wing.

– Emily Dickinson

First, let’s get rid of some myths. Musicians sometimes fall victim

to the notion they are doing something so precious and valuable that

they can’t understand why the world isn’t shoving money in their

pockets and adulation on their heads. “Why am I not famous yet?”– a

question rarely asked out loud but certainly poking around inside many

musicians – especially those

aspiring to the heights of

fame and worldly success.

Is it me, or is there a bit of an

entitlement mentality here –

that the world owes you a

living, or something?

Well, surprise, your “work” is

no more valuable than the

auto mechanic’s and the

zookeeper’s. Let that sink in.

Reality check: The “culture

industries” we play in perpetuate the myth by allowing the

marginalization of “art” on the one hand, and the divinization of the

same on the other. “Art,” according to this view, is created by the very

few and must be protected behind marble and glass in buildings

resembling temples of old. The message is clear: Look, but don’t

touch. At the same time, “Art” is elbowed out of reach of the common

man, and the training of the same must happen in credentialed

institutions of “higher learning,” else you may not wear the badge of

“Artist”.

This might seem odd coming from someone employed by the world’s

top contemporary music college, but I base it on observation of

hundreds of music careerists over many years. While most musicians I

know take a humble stance in relation to their work, the myth persists

and can affect musicians’ inner lives to a great degree, sometimes

without them even knowing it.

MUSICIAN 2.0, 3.0, 4.0… by Peter Spellman 4

Let’s face it. The upward climb can seem to last forever. In reality, it is

never-ending — unless you are planning on hitting some pre-

determined plateau and squatting there.

Don’t fall into the trap of feeling that the race is not going well just

because you’re not at the finish line yet. The race has something to

celebrate all along its track. What becomes tiresome to the aspiring

musician is not achieving some significant milestones. We’ll address

that later.

Perhaps it’s helpful to remember

all those ten year “overnight”

successes. Indie rockers Death

Cab for Cutie released their first

record in 1998 and didn’t get their

wider recognition until their first

Grammy nomination in 2008. It

took almost ten years of total

immersion into his craft as a

songwriter and vocalist for John

Stephens to make the transition

to Grammy-winning John Legend.

And, lest we forget, when the

Beatles landed in NYC in 1964 for

their first U.S. appearance, they

had already been together since

1957 and had clocked an

estimated 1,200 gigs, many

consisting of eight hour sets at

Hamburg and Liverpool clubs!

Here’s the reality: A full-time performing (or, songwriting, or

recording, or what have you) career may not be in the cards for you.

The unrelenting laws of supply and demand are real, and are being felt

more today than ever before. This doesn’t mean you shouldn’t try for

it. Of course you should, and many will achieve it. But musicians need

to give themselves permission to be weekend warriors with non-music

day jobs too.

That’s OK, ok?

Being a full-time “artist” is a fine goal, but try seeing that goal in light

of Meister Eckhart’s words: “An artist is not a special kind of person.

MUSICIAN 2.0, 3.0, 4.0… by Peter Spellman 5

Rather, every person is a special kind of artist.” A business meeting is

a jazz jam; a DIY rock band is a management team. Don’t let

industrial age divisions of labor blind you to the possibilities for

creative engagement everywhere and anywhere. You can create in

myriad ways with myriad means in myriad venues.

Of course, the myth of the Artist is currently crashing on the rocks of

the DIY revolution where everyone from your kid sister to Jay Z are

seizing control of the means of production to put their creative

thumbprints on the new music landscape. This revolution is

empowering millions while at the same time creating more competition

for everyone. I tend to agree with Producer Richie Zito that with the

current technology, there is a tendency for artists to record long

before they’re ready. He reckons it’s like cooking. You can have all the

ingredients in the world, “but if you take it out of the oven too soon,

it’s not going to taste good.” Here, here.

Just because you can record and release tracks and CDs doesn’t mean

you should. No wine before its time.

THE INTENTIONAL MUSICIAN

Feet on the ground, head in the sky.., David Byrne (“Naïve Melody”)

While the musicindustry passes through its many phases of late

capitalism (birth, growth, maturation, contraction) and be knocked

about by technochanges, the musician, that is, the music "tradesman"

can take a more intentional path. The musician isn't bound to follow

industry trends – he's not a corporate entity enslaved to "corporate

imperatives" which wreak havoc with human values and moderate

goals.

Nor is he bound to indulge every tech fancy that Wired magazine

lauds. In a real way, he can play his own game, and create his own

economy, if he rises to the challenge of his new powers. Take a page

from musicians like Bon Iver, Incredible String Cheese Incident, ToasT

or Corey Smith – successful music projects cutting their own

tributaries off the main stream at their own tempos.

Today’s musician can take it slow and, in fact, should. When you hit a

foggy patch on a highway you slow down. If the current times are

MUSICIAN 2.0, 3.0, 4.0… by Peter Spellman 6

anything they’re definitely foggy. We’re hovering between radio

stations where static is loud and destinations unclear.

We’re in a transition that began somewhere in the late 90s. Most are

calling it “creative destruction” and that seems to describe it pretty

well. The path that was once clear (though difficult) has now branched

out like fractal geometry into multiple paths (which are still difficult, if

not more so).

But, in case you hadn’t noticed, this is

true now of most careers, whatever

that word means in these wacky times.

The career ladder has been hacked to

just a few rungs because we’re all

CEOs. The lure of the linear path is

powerful. But that’s early twentieth-

century thinking. A better career

metaphor might be a rouge wave, full

of switchbacks and zig-zags. The game

has changed but the rule book still

needs to be written; the terrain has

altered and boundaries have blurred,

yet new maps are missing.

If we indeed are in a period of

creative destruction, then the key to making the most of these

changes is staying more creative than destructive.

How do we do this? I’m going to share some guidelines to help you set

your sail for a forward-moving career trajectory. These aren’t solutions

for every career woe; they’re provisional observations from someone

deeply involved in the careers of musicians. Too, while some of this

may be feel novel, most is a simple re-minding that, despite the

swirling changes around us, a certain core of attitudes and actions will

keep us pushing forward and, hopefully, upward.

Let’s call them the four commitments.

MUSICIAN 2.0, 3.0, 4.0… by Peter Spellman 7

THE 4 COMMITMENTS

1. Commit to Growth

He who’s not busy being born, / Is busy

dying. – Bob Dylan

Today we have the chance to

compose our own lives. It’s a

liberating prospect, but also daunting,

because it requires a high degree of self-knowledge. If we don’t start

at the core – if we instead accept reflexive, inherited, or half-thought-

out definitions of who we are and what we have to contribute – we run

the risk of being overwhelmed by the possibilities that we face.

Career musicians, in general, are slow starters but good finishers if

they stick to it. There has to be a resolve to keep plugging on despite

rejection, band break ups and personal misfortunes. Grit, spunk,

moxie, doggedness – call it what you want: Stick-to-it-ness is the

secret ingredient. As Nashville songwriter Tom Shapiro advises, “ You

write a bad song to get to the good songs. You have to write the crap

out of you.”

Commitment to growth also means sometimes making waves. It has a

“mission ruthlessness” to it and may piss some people off. So be it.

• Exercise creativity. Most of us traffic with societies

demanding little in the way of creativity. We can get by, even be very

“successful,” with partial participation, recycled culture and

conversation ad infinitum. Studies show that a child’s creativity

plummets at around age 5. What usually begins at that age? Right.

We’re in a psychic battle for our creativity, recovering from years of

repressive and flattening “education” and “socialization”.

If the times we’re living in are calling for anything, they’re definitely

calling for creative solutions.

Remember,

Light bulbs weren’t invented by exploring candles.

Iron ships weren’t made by exploring wood boats.

Skyscrapers weren’t designed by exploring bungalows.

Cell phones weren’t conceived by exploring land lines.

iPods weren’t invented by exploring turntables.

MUSICIAN 2.0, 3.0, 4.0… by Peter Spellman 8

Commitment=being bound

emotionally or intellectually to a

course of action; allegiance,

dedication, loyalty. Pledging

allegiance to not only your nation’s

flag, but to the work you feel called

to do.

It’s tough to get a new slant

on something when you’re

looking at it head-on. A

cube head-on is a square.

Step left or right and see its

full dimensions. Creativity

begins with a different way

of seeing familiar things.

“Creative” doesn’t

necessarily mean totally

new. It also means

exploring new combinations

and making what already is,

your own. “I studied Ray

Charles when I was young,”

says Joe Cocker, “and he had the beautiful way of making a song his

own.” That’s what gave Joe courage to find his own voice in familiar

tunes.

Someone once said, "If the only tool you have is a hammer, you will

see every problem as a nail." Many of us are walking around today

with outdated toolboxes. New challenges call for new tools. If we are

to re-create our careers and businesses for the twenty-first century,

we’ll need to release our outdated beliefs about the way the music

business works and replace our time-worn hammers with a radically

new tool kit.

To break through to those other parts of ourselves that sit submerged

beneath our everyday consciousness demands courage.

There is nothing more brave than filtering out the chatter that tells you

to be someone you’re not. There is nothing more genuine than

breaking away from the chorus to learn the sound of your own voice.

We can dare to be different.

Here are some practical suggestions for busting out and moving

forward. You don’t have to do all of them; just try those that resonate:

MUSICIAN 2.0, 3.0, 4.0… by Peter Spellman 9

• Mix up your routine. Try offbeat restaurants. Read unusual

magazines. Take detours to work. Play strange music. Go to unfamiliar

films. Attend bizarre lectures.

• Leave your isolation. Lunch

with different people. Call on suppliers.

Visit workplaces of friends and

colleagues. Spend more time in your

client’s world. Wade into the

marketplace.

• Break out of yourself.

Volunteer at a children’s hospital or

nursing home. Help a favorite charity

solicit donations. Write letters to let

professors and mentors know how

they helped you. Call lost relatives and

rebuild relationships.

Whatever you’re working on ask: Can I

flip it?, turn it inside out?, combine it

with something else?, take something

away from it?, add something?, put it

to other uses?, re-arrange it?

Bust out of the box and then bring something new back.For years, the

Funk Brothers backed up Marvin Gaye, the Temptations and other

Motown greats. At night, they refined their signature sound by

prowling and playing Detroit’s jazz clubs. The next morning, they

would bring fresh ideas back into the Snake Pit studio, adding jazz

voicings and thick textures to their arrangements.

This is not to say that we should abandon everything in the old

toolbox. While so much has changed around us, some things remain

important for careers and for life: things like correct spelling, good

grammar, preparation, face time, stagecraft, clear phone messages,

punctuality, and calling when you’re going to be late. Get the basics

right or you’ll shoot yourself in the foot before the race begins.

• Strike inner-outer balance. Creative people need both

isolation and the crowd, thinking alone and working together.

Managing isolation and managing relationships are equally important.

Managing isolation allows a creative person to manage their

MUSICIAN 2.0, 3.0, 4.0… by Peter Spellman 10

consciousness. Networking allows the exchange of ideas and

information. The inner/outer juggle.

But it does all begin with our innermost parts, right? That’s where we

live and move and have our being. It’s the seat from which our lives

spring.

The blizzard of the world

has crossed the threshold

and it has overturned

the order of the soul.

– Leonard Cohen

At times our knowledge of inner human potential seems like a single

match struck in a vast dark cave. I’m always roused by the iceberg

image as a metaphor of human potential. Twenty percent active while

eighty percent lies hidden. :-O

No matter what your belief system,

I think we can all agree that many

people, in fact, begin life as

butterflies but somehow end up in

cocoons. Something precious gets

short-circuited somewhere between

childhood and “maturation,” and

this affects us deeply.

Philosophers argue about what to

call this precious core of our

humanity: Thomas Merton used the

phrase “the true self”. Buddhists call

it “original nature”. Quakers “the

inner light”. Hasidic Jews speak of

“a spark of the divine”. Humanists

call it identity and integrity. In

popular parlance, people often call it

the soul.

Whatwe name it matters little, but

thatwe name it matters a great

deal. For “it” is the objective, reality of selfhood that keeps us from

reducing ourselves, or each other, to biological mechanisms,

psychological projections, sociological constructs, or raw material to be

MUSICIAN 2.0, 3.0, 4.0… by Peter Spellman 11

manufactured into what society needs – diminishments of our

humanity that constantly threaten the quality of our lives.

I suspect it can be argued that with the turning outward to conquer

the world via machines we lost something of value in the process – a

deeper sense of human power. Somewhere in the civilizing process

mankind separated the conscious mind from the deeper instinctive

strata of the human psyche, and with the meteoric rise of science

(actually, scientism) and technology (technocracy), the unconscious

mind could not keep pace and fell far behind. Do you feel it? Spiritual

and moral traditions have disintegrated, causing worldwide

disorientation, and our direct contact with Nature has diminished. This

is only my opinion, as both a student of history and traveler on

spiritual paths.

However, if we’ve decided our threshold of consciousness will rise

higher than our jobs and societies demand, we’re onto a very exciting

path, one that may provide us a different angle on things.

The path may also force a look in the mirror we’d rather avoid. Like a

tooth from the jaw, dealing with our sh*t draws spiritual blood, but it’s

certainly the first step towards wholeness.

• Carve your goals/Set your sail. The mind tends to follow

what’s in front of it, so write down your goals and post them where

you can see them. Create both long-range goals (I want to cast a song

with a top country artist, perform in Japan, score an EA video game)

and then short-range goals that reflect your longer ones (I’ll hone my

songwriting craft through an online course, network with booking

agents in the Asian markets, score a video game for a student in a

new media program). When asked about her “success”, musician Zoe

Keating described it as “the sum of many tiny moments.” Success is

not someday; success is every day. Knit your success to conscious

goals.

We consider 5% GDP growth pretty good; 10% fantastic. How might

this apply to the tempo of music career development? Well, say you

play 20 shows this year and your combined revenue for performances

and music sales total $2000. Now, let’s say next year you play 30

shows and generate $3000 total sales. While it might not seem that

much, it’s actually 50% growth! Project 50% growth per year out ten

years and you’ve got a sustainable music career. Even 40, 30 and

20% are admirable business benchmarks.

MUSICIAN 2.0, 3.0, 4.0… by Peter Spellman 12

The point is we should give ourselves permission to grow our careers

at a tempo that makes sense to us rather than to over-strive and burn

out too soon. A common phrase in scenario planning is “long fuse/big

bang.” This refers to the “possible lives” that are going to take a while

to develop, but will be life changing when they finally occur. Slow

starter, good finisher.

• Lead with your strengths. It has been noted that musicians

possess a strong and unique skill set – they tend to be disciplined,

display an internal versatility, possess deep listening skills, can strike

compromises among diverse groups, know how to orchestrate creative

alliances, and, in general, demonstrate what cultural observer Daniel

Pink calls “symphonic” thinking – an ability to synthesize disparate

pieces into a whole. Often, these are accompanied by additional skills

of confidence in public performance, technological fluency and a knack

for problem-solving.

That’s quite a rack of valuable (AKA, sellable) skills and, while not

every musician owns all of them, they often fly under the radar of

most musicians’ minds. Why? Because they’re first-nature traits – Like

the air you breathe, they’re rarely considered. The key is becoming

conscious of them and then translating these awesome skills into

statements of value. Example: I started and led a band. Translation: I

can build and manage a coalition of diverse personalities. Nice. Use

that. Be clear about your own assets and talents. Lead with your

strengths in everything you do, ‘cause you have lots of them.

Committo Growth.

Next…

MUSICIAN 2.0, 3.0, 4.0… by Peter Spellman 13

2. Commit to Focus

Our life always expresses the result of our dominant thoughts. – Kierkegaard

World chess champion Gary Kasparov says the difference

between a good chess player and a great one is not that the great

chess player knows which moves to look at, but that he also knows

which not to look at. Focus takes work. So there must be a

commitment to it.

It’s not for nothing that we say ‘pay attention’. Attention – focus –

demands something from us.

Focus a basketball team and watch

out! Focus light and get out of the

way! Emerson said, “Concentration is

the secret of strength in politics, in

war, in trade, in short in all

management of human affairs.”

Focus concentrates energy but it also

takesenergy. So…

• Attend to core priorities.

With all the head-spinning changes in

the biz, some things haven’t changed

in the least. Focus on those: great songs & compositions, fabulous

performance events, creative packaging, and savvy business alliances.

These still succeed. Work from your core priorities – sharpening your

craft and nurturing your fans and audience. What else is there?

I have come to this conclusion regarding talent: how much native

ability you have may not matter nearly as much as the effort you put

into your art. The latest studies on “genius” and “talent” all suggest

the same. It’s more a matter of work ethic than special endowment (at

least for most of us). Someone once said: “Luck is what you have left

over after you give one hundred percent.” Here, here. “Good enough”

is not good enough. In the immortal words of Albert Grossman, “If it

ain’t great, it sucks”. Work it until it’s great or get out of the way.

Another myth about creativity is the belief that we need unlimited time

and/or money to be creative. We conjure up notions of the wonderful

creative projects we could do if only we had all the time and money we

needed.But research has shown that creativity actually thrives with

MUSICIAN 2.0, 3.0, 4.0… by Peter Spellman 14

moderate limitations (like deadlines or budgets) and decreases when

unlimited resources of time and money are provided.

• Niche yourself. While the major record companies of the

eighties and nineties were counting their Benjamins, the economy

shifted from a music mass market to music niche markets. Those

record companies were optimized for Mariah, Celine and Beyonce, and

capable of selling multimillions of units. But give them an Alison

Krauss record and they didn’t know bluegrass from blue crab. The

whole music industrial complex is set up for “major pop stars” not

niches. The worst thing that can happen to a major corporation (like a

major record company) is for its customers to become unpredictable

and niche-oriented, and this is exactly what has happened.

A segmenting music market means

there’s a place even for the most

idiosyncratic music project.

Consider Phantogram, Dredg, Anja

Garbarek, St. Vincent, Sharon

Jones & the Dap Kings, Iron &

Wine – all off-the-mainstream acts

with buzz. A small piece of a big

pie is still large enough. Niches

may not make you super rich, but

they’re big enough for a small,

sustainable economy – like you.

Hey, not everyone’s going to be a

Quincy Jones, U2, or Bonnie Raitt,

but if an artist like Tom Waits is a

vocalist, then there is definitely

room for you, right? Do the work

necessary to excel in your niche,

whether it’s writing charts,

engineering sessions, providing backup vocals, booking shows or

teaching kids the basics of music.

Your goal, to use marketing lingo, is to “position” yourself in your

“market” as the go-to person for that particular skill or talent. Don’t

worry too much about industry rejection. Every record label in Britain

initially passed on the Beatles and The Rolling Stones, right? The key

is believing in yourself and persevering beyond others’ opinions (even

those of “the industry”).

MUSICIAN 2.0, 3.0, 4.0… by Peter Spellman 15

You’re an entrepreneur of your own talent. What is entrepreneurship?

It’s seeing an economic/social/spiritual need and then creating

business forms to meet that need. It’s finding a gap in a seemingly

saturated market and creatively filling it in with your unique offering.

Maybe your specialty is tube amps, or Latin jazz arrangements, or

building cool web sites. Whatever it is you can create a niche from it, a

distinctive offering that stands out in the marketplace of useful things.

Dig a hole an inch wide and a mile deep, and work it.

Tags:
Comments: (0)

• Think for a change. Pause.If I were to ask you to

concentrate real hard and imagine yourself growing an inoperable

brain tumor, would you do it? Most of us would probably hesitate.

Would you? Why? Perhaps because you believe deep down that your

mind, or the way you think, can actually have an affect on your body.

And you would be right.

Modern brain research, as well as quantum physics, are discovering

that the mind is a form of energy that cannot be reduced to

measurable quanta or manipulated like samples in a test tube.

Thoughts are electric and they impact matter.
Comment:*

Secrets of hiring celebrity entertainment for your event: How to Hire a Band for your event

2009-09-14T20:48:00.000-07:00

Secrets of hiring celebrity entertainment for your event: How to Hire a Band for your event

How to Hire a Band for your event

2009-08-18T09:18:00.000-07:00

How to Hire a Band
Some things you should know before booking live entertainment
Booking a live band for your special event is
always a solidly great choice. Live music
adds atmosphere to any gathering, and is
capable of turning any party into an event that
will be remembered for a long time. Try this
test: Ask yourself how many office parties
you’ve been to where there was nothing special
going on other than the same people you see
every day at work: everyone puts in an
appearance, socializes for a while, then goes
home. Now ask yourself how many live
concerts or shows you’ve been to? Think about
the excitement in the air at a concert. Think
about the audience: everyone cheering, dancing,
and having a great time. It’s a good bet that
some of these concertgoers even save their ticket
stubs to put in a scrapbook when they get home.
Wouldn’t it be great to have a similar level of
excitement at your event? A live band can help
you give your guests an evening to remember!
However, hiring a band for a special event is
sometimes intimidating for those who have never
done so before, and it does involve additional
planning and expense that should be taken into
consideration well in advance in order to
minimize any last-minute “surprises” that
otherwise might come up. It helps to be as
informed as possible when negotiating a price
with the agent or bandleader, and it is especially
important to communicate your expectations to
the bandleader so that the musical portion of
your event goes off without a hitch. Bandleaders
may also have some expectations of their own; it
is a two-way street, and like any business
transaction the objective is to create a win-win
scenario whereby you, the band, and your guests
can all call the evening a success.
This article will focus on how best to achieve
that win-win scenario, so as to make your event a
memorable one that will achieve its desired
goals. The first section will provide some ways
to help you plan your event to include live music
as a centerpiece, the second section will provide
some information that everyone should know
before starting to negotiate a fee with the
bandleader, and the third will focus on the actual
day of the event. The information in this article
will help make your event a Dream Come True
and not a Nightmare!
The Planning Process:
Plan your event: The first thing on anyone’s todo
list should be to come up with an overall plan
for how you want your event to flow, and where
you want the band to fit in to this equation. Will
there be dancing? Will there be quiet dinner
with background music? Will there be a cocktail
hour? The answers to these questions will
determine what type and size of band will suit
your needs. (fig.1) Having a 17-piece Big Band
for your dinner hour would be too loud for your
guests to hold a conversation, but having an
acoustic jazz trio for a crowd of dancers is also a
mismatch. Assess your needs realistically, and
hire a band that meets those needs. Be sure to
communicate those needs to the bandleader too;
he/she needs to know what you’re expecting.
B
Fig. 1: Some successful musical matches:
Cocktail/Dinner music: ……………………….………Small, acoustic Jazz trio or quartet
Wedding Ceremony: ……………….Pianist, organist, Classical Duo/Trio, Brass Quintet
Swing Dancing:…………………..……..…Large band with a drummer and lots of horns
Disco Dancing:……………………….………….……………Variety band with a vocalist
Many bandleaders will be able to work with you to accomplish all of your goals. For
example: it’s not uncommon for a large swing band to divide up into a smaller jazz unit to
play during dinner and then have the full band assemble in force for dancing after dinner.
Consider the logistics of your venue: Along
these same lines, it’s important to make sure that
your location fits your needs. If you’re hiring a
large band, make sure the stage area is large
enough to hold them all comfortably. (it doesn’t
even need to be an elevated stage, just an area
where the band can set up and hold court). If the
event is to be held outdoors, the stage area
should be covered in case of inclement weather,
as should the sound system. If it’s going to be an
evening event or after dark, make sure there is
adequate power for lighting on stage. It is
helpful to provide as much of this information to
the bandleader beforehand as possible too.
Consider the visual impact of your event, and
choose music that’s right for that theme. A good
band will always entertain your guests, but a
good band in a well-decorated room will
transform your guests and bring them into an
entirely new world for a night.
Hire Professionals: Sure, you might be able to
save some money by getting so-and-so’s brotherin-
law who played in a band in college to come
jam with his friends at your party, but ask
yourself: isn’t your event important enough to
give your guests the best? Professional
musicians do this for a living! They will take
your event seriously, work hard to entertain your
guests, and will work with you to suit your
event’s needs instead of just hanging around
playing their instruments for their own
gratification.
Budget Accordingly: Remember that most
professional musicians have a great deal of time
and money invested in their abilities and their
equipment. A Journeyman-level musician
typically has had as many years of schooling and
practice on their instrument as a doctor, lawyer,
or dentist. Many professional musicians have
degrees in music, Bachelor’s, Master’s, and
sometimes even Doctorate degrees in the
Musical Arts. Many are also music educators in
public schools or privately. Musicians who
teach privately usually earn anywhere from
between $30 to $80 per hour teaching, and often
they are giving up some or part of that income to
work in bands. Musicians usually work as
independent contractors, which means they’re
responsible for their own health insurance, selfemployment
taxes, retirement plans, and other
expenses that the rest of the working world gets
through their employer.
What’s more, the physical effort of playing an
instrument is very demanding. Medical studies
have shown that a concert violinist burns as
many calories during a typical day of practice (4
to 6 hours) as an athlete training to run a
marathon. Most working musicians carry their
own gear to and from the job site, ranging from
at least two or three brass instruments to a full
set of drums. Musicians are prone to RSI’s
(Repetitive Stress Injuries) and other job-related
maladies. All of this contributes to added
medical costs and higher insurance premiums for
which the musician must bear the cost.
And let’s not overlook transportation costs!
These days, fuel expenses are significant,
especially for the larger-sized vehicles most
musicians must drive in order to transport their
equipment.
All of the above factors contribute to the band’s
Cost of Doing Business. (fig.2) You should
expect to pay these musicians fairly for their
time while they’re performing at your event.
That being said, you don’t have to break the
bank to get the band you want. Come up with a
realistic budget for live music based on the size
of the band you want (number of musicians) and
the appropriate costs involved for each musician.
total musician wages)
Agent Fee Additional percentage taken by booking agents for the work they do in booking the
band. (typically add 15% to total musician wages)
)
Cartage: Bonus paid to musicians who carry large instruments or equipment, such as drum
sets, keyboards, amplifiers, etc., to and from the job site. ($45 per large instrument)
Doubling: Bonus paid to musicians who must learn and maintain skills on more than one
instrument in order to perform an engagement with the band ($25 per add’l
instrument)
Mileage: Bonus paid to musicians to cover fuel costs to travel to and from the job site (45
cents per mile for engagements outside Metro area)
Travel Time Premium: Bonus paid to musicians who are required to travel more than 30
miles to perform an engagement. (usually $12.50 for each 50 mile increment)
Sound System: Covers the cost of professional sound reinforcement, including the use,
cartage, and maintenance of sound equipment and a professional sound engineer to
operate it. ($200 to $800 depending on needs and size of room)
Stage Lighting: Covers the cost of use, operation, and maintenance of professional stage
lighting. ($50 to $150 depending on stage needs)
Payroll/Employment Tax: Covers all Federal, State, County, and Municipal taxes and fees
associated with Contractor wages as reported on IRS Form 1099-MISC (add 20% to
musician wages)
Insurance: Covers musical instruments and equipment against loss, damage, theft, or other
unforeseen circumstances (cost varies depending on individual rates and policies)
The bandleader will have considered his/her cost of doing business when providing a price quote. If they
haven’t, they either don’t care whether or not their business loses money, or they are too inexperienced to
consider all of the factors involved and will be looking for ways to earn additional money later on. Either
way, you should expect to budget accordingly for the band you plan to hire. The table above will give you
a ballpark idea of the costs involved when budgeting for a band.
The Booking/Negotiation Process
You’re now ready to begin negotiating. Having
planned your event’s overall flow, being
informed about what the bandleader is likely to
charge, and having budgeted and planned
accordingly, you’re now ready to bring the band
into the equation. Arrange a meeting with the
bandleader or agent. Meeting in person is best,
but taking care of business over email is
acceptable too. Email is often better because it
leaves a written record of all of your
correspondence, which makes it easier to look
back and find out what’s already been discussed.
Watch out for extra fees: An ethical bandleader
will not try to add in additional costs, but once in
a while you’ll get a leader who tries to charge a
more than realistic amount. Although some
leaders may not be willing to share information
on how they pay their musicians, fortunately you
can use the above table to figure out if you think
they’re charging an unreasonable amount for
their services. As always, though, the
cornerstone in this business is communication: If
you feel you’re being charged an unreasonable
amount, you can always ask the bandleader to
explain why he is charging so much. If he gives
you a reasonable explanation for his fee, then it’s
probably legitimate.
Get a contract. A written contract is more than
just your assurance that the band will perform
their duties in a professional and timely manner.
It is also the band’s assurance that they will be
paid at the end of the night. Having a legally
binding document outlining terms of service is a
sensible and recommended part of any business
dealing, and dealing with a band is no exception.
The contract can contain anything you both agree
to, but it does need to have a few key items: at
minimum, your contract should contain: Your
name and address; the name and address of the
signatory musician; the location and time of the
performance, and the amount of compensation
agreed to. Beyond that, there are some terms the
bandleader will probably insist on, such as the
fact that no commercial recordings will be made
of the performance without written release, etc.
There are usually also some legitimate concerns
bandleaders have about the band’s working
conditions while onstage. (fig. 3)
The bandleader most likely already has a
standard contract boilerplate that he/she usually
uses; this is normally very straightforward and
shouldn’t pose any problems. Any aspect of the
contract can be discussed and worked out to your
mutual satisfaction; it’s just a matter of sitting
down and talking about it.
Communicate your needs to the Bandleader, up
front. If you’re going to need the band to play
Calypso music for half of the night and then
Polka music for the other half, communicate that
at the time of negotiation, not later on. If you
have a favorite song for the Bride/Groom dance
and would like the band to play it, the bandleader
needs to know early on so he/she can prepare and
arrange the music, and rehearse it if it’s not
already in the band’s repertoire.
Allow the Bandleader to communicate his/her
needs to you. Remember that these musicians
are accustomed to being treated professionally
while on the job. This doesn’t necessarily mean
you need to lay rose petals at their feet or
separate all of the green M&M’s out of the bowl
in their dressing room, but you should treat them
like respected business colleagues. As with any
business negotiation, it is a two-way process.
Remember that the musicians are performing
their job in a different location each time they
perform, and as such they will be very conscious
of their work environment and working
conditions being up to certain standards.
Fig. 3: Working Conditions for Working
Bands: Here are some of the things that a
bandleader may ask for as part of the band’s
jobsite or working conditions:
Safety: Make sure the area where your
engagement is to take place conforms to
building codes and is safe for occupancy.
Breaks – the band will not be able to
maintain their energy level if they are
required to play solidly for 3 hours straight.
Most bands divide the time up in 1-hour sets
with 15 minutes of break-time in between,
although this is usually flexible based on
your event’s needs.
Setup: the band will need some time, ahead
of time, to set up their equipment on stage.
It is best to allow at least 3 hours prior to the
arrival of guests, so that the heavy
equipment can be loaded in without being in
anybody’s way,
Refreshments: The bandleader may request
that water pitchers or bottles be available to
musicians while onstage. Even if they don’t
specifically request this, it’s a good idea to
offer it.
Food: The band usually needs to eat
something – and it’s usually quite disruptive
if they have to send out for pizza during
their break – so it’s common practice to
provide meals for them. They don’t have to
eat at the same time as your guests,
especially if they’re contracted to play
during dinner, but they do need to eat
sometime during the evening.
Sound System: if the band’s price includes
the sound system, make sure the bandleader
and/or his sound engineer has a chance
ahead of time to get to know the acoustic
properties of the room. If the sound system
is being contracted separately from the band,
make sure the sound company has a chance
to check out the room ahead of time. This
small amount of preparation will make all
the difference in the world.
Whenever possible, make sure working
conditions are discussed and put in writing in the
contract. This will protect you from potential
liability later on if any accidents happen.
Deposits: A bandleader will usually ask for a
deposit to reserve the date. The amount varies
from one individual to another, and will usually
range from as small as $100 to as large as 50%
of the total engagement fee. The bandleader
usually holds the deposit in a special bank
account until the date of the engagement.
On The Day of the Event:
You’ve planned the event. You’ve hired the
band, paid the deposit and signed the contract.
Here are some things to keep in mind on the day
of the event:
Have the business items prepared in advance.
Make the check out ahead of time so you can
hand it to the bandleader smoothly. If you’re
planning on reporting the event as a business
expense, make sure you have the bandleader’s
social security number or Tax ID number for
your 1099-MISC,
Have a liaison or contact-person available at
the venue location early enough to let the band in
so they can start setting up. Allow the musicians
plenty of time to get the heavy lifting out of the
way so they can take a few moments to relax
before having to be at the top of their game when
the music starts.
Give your bandleader the cell phone number and
contact information for your contact-person so
they can call if they have any questions or
problems. Having the means available to solve
minor issues before they turn into major ones
will make all the difference!
Don’t micromanage: Chances are, you’ve got
enough to worry about the day of the event
without worrying about the band. Fortunately,
you’ve hired professionals! Let the bandleader
do the job you’re paying him to do. He will
make sure the musicians under his employ will
conform to whatever conditions you have
discussed with him ahead of time. If you have a
favorite song, it’s acceptable to make a request,
but there’s no need to dictate the band’s entire
song list to them – let them do their job!
Expect the Unexpected. Live music is unique in
that it takes place in the moment. No two live
performances are ever exactly alike. Each
musician is constantly striving to make every
performance unique and wonderful. Don’t
expect your band to sound exactly like the
recording – expect them to sound better! Expect
them to interact with the audience a little bit, let
them “work the room” and personalize their
show for you.
Enjoy the music! Remember that live music is
the best way to turn an ordinary party into an
Event (with a capital E).
Carey Kleiman received his Bachelors & Masters Degree in Music from the University of Miami. Over his career he has performed and produced with Ray Charles, Frank Sinatra, and Boyz to Men, Kathy Lee Gifford, Tony Bennet, Bee Gees and many other notable celebrities and served as a musical supervisor/contractor for syndicated television Shows. In the 1990’s he formed his own music production company and served as the musical & entertainment director for the Diplomat Hotel working with many of the celebrities and all of the hotel’s convention and social clients. Later he formed CK Entertainment which specializes in corporate & meeting entertainment and notable social events. In addition he is an adjunct professor of music business at FAU & Broward College. His website is www.ckentertainmentinc.com

Secrets of hiring celebrity entertainment for your event: Secrets of hiring celebrity entertainment for your event: Secrets of hiring celebrity entertainment for your event: Join My Course on Reason 4

2009-05-22T17:43:00.000-07:00

Secrets of hiring celebrity entertainment for your event: Secrets of hiring celebrity entertainment for your event: Secrets of hiring celebrity entertainment for your event: Join My Course on Reason 4

Secrets of hiring celebrity entertainment for your event: Secrets of hiring celebrity entertainment for your event: Join My Course on Reason 4

2009-05-22T17:31:00.000-07:00

Secrets of hiring celebrity entertainment for your event: Secrets of hiring celebrity entertainment for your event: Join My Course on Reason 4

Secrets of hiring celebrity entertainment for your event: Join My Course on Reason 4

2009-05-17T20:16:00.000-07:00

http://www.musicindustryeducators.com/music_course_details.asp?id=22

Secrets of hiring celebrity entertainment for your event: Join My Course on Reason 4

2009-05-17T20:14:00.000-07:00

Secrets of hiring celebrity entertainment for your event: Join My Course on Reason 4

Join My Course on Reason 4

2009-05-11T19:44:00.000-07:00

I am teaching a great course for beginners on all the operations of REASON 4 from Propeller Head
The course can be found online at this link below:

http://www.musicindustryeducators.com/music_course_details.asp?id=22

Also if you are working in production and need to learn basic Modern Musicianship;
Here is the link for that course below:
http://www.musicindustryeducators.com/music_courses.asp?id=3

Its worth the few dollars. Any questions just email me.
Carey Kleiman BM MM

HOW TO GET A GIG IN THE MUSIC INDUSTRY

2009-05-08T10:58:00.000-07:00

HOW TO GET A GIG IN THE MUSIC INDUSTRY

FIRST TAKE SOME MUSIC BUSINESS COURSES AT A LOCAL COLLEGE UNIVERSITY or ONLINE
Always keep in mind that you need to start looking for that internship early in the
semester. Companies may request s ubmissions up to two months in advance. Keep in mind
that jobs and internships in the music business are in very high demand. Creativity is the
key to getting noticed. Try to come up with something that refl ects your talents and at the
same time catches the eye of those hiring.

Researching Companies

There are many websites that can help you gather research on public companies. From
investor relations bulletins to press releases, you can find th e most up‐to‐date company
data at the touch of a button. H ere are a few sites that will help you with your investigation.

Top Music Industry Publications

Billboard Magazine
Rolling Stone
Guitarist
Guitar Player
Guitar World
Acoustic Guitar
Musician
Jazz Times
Home Recording
Mix Magazine
Remix
Music and Sound Retailer
Electronic Musician
Modern Drummer
Barron's Magazine
Business Week
Financial Times
Forbes
Fortune
USA Today

Web Based Music Information and Publications

http://www.billboard.com

http://www.pollstar.com

http://www.musicconnection.com

http://www.rollingstone.com

Finding Summer Jobs and Internships Online

The Internet is your most powerful tool as you cast a wide net in your search for a summer
job or internship. To begin, cre ate a list of all the places you would like to work at, and then
list all the people you know at these places. If you don't have any
personal “ins,” don't worry. On m any occasions, the company or
institution will have a career section on their site with a human
resources contact name or e‐mail address. Once you have the con tact
information, send a cover letter and resume. Check out the resu me
guidelines below for creating dynamic cover letters and resumes.

Guide to Internet Job Hunting Using the Internet to Research
Companies

The Web profiles of music industry companies, studios, talent agencies, music instrument
manufacturers, and much more. Once you locate the company profile you can then follow
the link to their Web site for more information.

Before you begin your search, create a wish list of the top ten companies
you'd like to work for. Then do some research and learn about their
corporate culture. You can begin with their Web site, but don't limit
yourself to this information alone. Word on the street is often the best
way to hear about jobs and company cultures, so keep your ear c lose to the ground. Ask
friends, check industry publicat ions, and attend trade shows an d seminars where you
might see these folks in action.
Guide to Internet Job Hunting Using the Internet to Find Internships
and Summer Jobs

The music industry is a highly network‐driven community. One of the best ways to get your
foot in the door at a studio, cl ub, or record company is to do an
internship or take a summer job. There's no better way to
hone your skills and at the same time display your talents to
the folks that make the hiring decisions. According to a recent study by the National
Association of Colleges and Employers, employers report that mo re than a quarter of their
class of 2000 hires came from their company's internship progra m.

Almost every company, studio, or music‐related business has int ernship programs. It's a
great way for employers to meet or audition a pool of potential employees, while at the
same time getting valuable work accomplished.
Just like any full‐time job, you can expect to go through the same interview and selection
process as regular employees. Though some internships and summe r positions are paid,
many are not. This is the price you may have to pay for a great opportunity. Expect to work
very hard. Remember, this is your time to impress!

Using the Internet to Network using powerful Networking Practices
Online
As you may well know, a large percentage of jobs available in t he music business are never
listed. Ask almost any industry professional how they got into their career, and their
answer will probably reflect some kind of networking. Most like ly, they knew someone who
knew someone, or heard about som e job in casual conversation, o r met someone at a party
who was hiring for a job. Networ king is the one of the most foolproof ways to get you a gig,
a job, or a contract; because employers feel that it helps them to avoid hiring the
"unknown."
.
From music education to film scoring, eighty percent of jobs ar e filled
through "someone who knew someone." Friends, bandmates, club
owners, talent agents, and studio owners are all folks that can help
you land a gig or job. Networking has become that much easier w ith
the Internet. With user groups, chats, and forums on music‐rela ted
sites, it's now easier than ever to meet people in similar situations as you. Find out how
other people in the network got their jobs or gigs, find out wh at classes or seminars they've
found helpful, and most of all, h ave them give you an introduction.
Remember: Manage Your Network!
It is really important for you to manage your network in an organized way. By developing
your own database of contacts, you can systematically keep in c ontact with everyone on

your list. (This is very useful when you are dealing with a large number of individuals and
conversations.) Keep a note of the conversations you had with e ach person in your network
so that later, you can refer back to previous discussions with ease. Try to contact at least
one member of your list each week. Remember, you may not need t heir help today, but
down the line, they may be just the person you're looking for.

Secrets of hiring celebrity entertainment

2009-05-08T09:17:00.000-07:00

Assuming you have the budget to fund a private gig, what are you getting yourself into? Well, if you're not sure, you might as well not even bother to inquire. "No agent is going to sell an act to a client that doesn't know how to produce a show," cautions Ben Bernstein, a personal appearance agent at the William Morris Agency in Beverly Hills who specializes in private gigs. "Ninety-nine percent of end clients don't have production experience, and the last thing we want to do is get a band into a situation where they can't perform."

In such circumstances, Bernstein typically recommends potential clients a production company, such as CK Entertainment.. Such firms can handle everything from negotiating a reasonable price from a booking agent to acting as a liaison between artist and client, to actually producing the show. "Often private clients have no idea what they're responsible for," notes Carey Kleiman with CK Entertainment who oversees some 40 private gigs a year. "They hear a price and they say, 'Great!' But when they find out what goes into mounting a show, they're dumbfounded."

For starters, every performance contract has a production rider, which spells out the nuts and bolts required: staging, lights, sound equipment and the rest. For "one-off" private gigs that are not coordinated within a tour schedule, bands typically prefer to rent sound equipment rather than transport their own, requiring the production company to cut deals with local sources. Every band needs a green room in which to cool out before the show and dressing rooms as well--and chances are your master bedroom won't cut it. Then there are the catering necessities pre- and post-show for both band and their crew. And don't forget about adequate parking for all the semis and catering trucks it's going to take to haul everything to the performance site.

Then there's insurance coverage in all its maddening detail. John Roskopf, senior director of Tave Risk Management in Northbrook, Ill., recommends clients conduct a thorough examination of liability exposures.
In the end, are private gigs worth it? For the true fan, there could only be one answer--of course they are! Be advised, that your true fan status doesn't count for squat in the cut-throat music business. Indeed, it may actually be a detriment. "The true fan is the thing that scares performers the most, because you'll be all over them," says Carey Kleiman, managing partner of CK Productions, which has booked acts ranging from rap to country to Christian for private and corporate clients around the country. "Whether it's a $30,000 act or a $1.5 million act, you need to make it a professional production form start to finish."

Secrets of hiring celebrity entertainment for your event

CK Entertainment - South Florida Wedding Bands

BOOK THE CK BAND ON GIGMASTERS

CK Bands on Thumbtack.com

Live Bands for your wedding, & Corporate events

Sax Profiles - Carey Kleiman's Audio Gallery

DEVELOPING MUSIC CAREERS IN UNCERTAIN TIMES BY PTER SPELLMAN

Secrets of hiring celebrity entertainment for your event: How to Hire a Band for your event

How to Hire a Band for your event

Secrets of hiring celebrity entertainment for your event: Secrets of hiring celebrity entertainment for your event: Secrets of hiring celebrity entertainment for your event: Join My Course on Reason 4

Secrets of hiring celebrity entertainment for your event: Secrets of hiring celebrity entertainment for your event: Join My Course on Reason 4

Secrets of hiring celebrity entertainment for your event: Join My Course on Reason 4

Secrets of hiring celebrity entertainment for your event: Join My Course on Reason 4

Join My Course on Reason 4

HOW TO GET A GIG IN THE MUSIC INDUSTRY

Secrets of hiring celebrity entertainment